The Hunger | | Cast : | Catherine Deneuve, David Bowie, Susan Sarandon | | Director : | Tony Scott | | Studio : | Warner Home Video | | Format : | Color, Closed-captioned, Widescreen | | Released Date : | April 29, 1983 | | DVD Released Date : | October 05, 2004 | | Language : | English (Dubbed), French (Dubbed), English (Subtitled), Spanish (Subtitled), French (Subtitled) | | Audience Rating : | R (Restricted) | | | BUY THIS DVD FROM AMAZON |
Customer Reviews
| Rating |  | | Date | June 08, 2005 | | Summary | haute couture blood suckers rock! | Content
 | Tony scott's stunning directorial debut makes the most of his background in filming commercials. Imagine the haughty images from the most rarified french couture houses mixed in with a splash of vampire blood and a lusty triangle of omnisexual predators. Throw in the darkest, most seductively violent punk rock track alternating with the most elegant classical and you have an amazing atmosphere worth dying for. No one can wear a veiled cocktail hat ,pose their mannequin-like faces quite like Deneuve (since Dietrich) or play the icy glamour queen of the night . Bowie is perfect as one of her (many, many) elegant ,devoted lovers facing sudden decay and abandonment. Sarandon holds her own against these legendary style icons as she falls deeper into Deneuve's dangerous web. The scenes where Deneuve is "courting" and finally seducing Sarandon is something to behold. Perfect editing with style and drama to spare. A vampire tale straight out of a 1970's Italian Vogue.
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| Rating | | | Date | April 07, 2005 | | Summary | "We're damned to live forever...with no release, no end." | Content
| In watching The Hunger (1983) last night, it seemed completely foreign to me that this movie was directed by Tony Scott, the same guy who directed such films as Top Gun (1986), Beverly Hills Cop II (1987), Days of Thunder (1990), and The Last Boy Scout (1991)...why? Because this film seemed so...artsy fartsy, for lack of a better term, while those other films tend to fall into the category of manly man films. By the way, I just read Scott is in the process of remaking Walter Hill's 1979 film The Warriors, scheduled to be released sometime in 2006...is Hollywood so bereft of original ideas they have to cannibalize past works? This is strictly a rhetorical question, as we all know the answer, so please don't send me a ton of e-mails...anyway, the film, based on a novel by Whitley Strieber, directed by Tony Scott, stars the very European Catherine Deneuve (The Musketeer), the always androgynous David Bowie (Into the Night), and the ever liberal Susan Sarandon (The Rocky Horror Picture Show), who, according to the Internet Movie Database keeps her Oscar in the bathroom...huh...I use mine as a doorstop. Also appearing is Cliff De Young (F/X), Dan Hedaya (Alien: Resurrection), and Willem Dafoe in a seminal role credited as `2nd Phone Booth Youth' (seriously, his role is so minuscule you'll miss it if you blink...he does have at least one line, so he got paid more for than just his pretty face). Also watch for Ann Magnuson (Clear and Present Danger) near the beginning in a very revealing part.
The film begins as we see an older, somewhat sophisticated couple (Bowie and Deneuve), whom we later come to know as John and Miriam Blaylock, picking up a younger couple at a disco...for what purpose? Certainly not to swing, baby...once alone, the older pair make short work of the younger pair in fine, vampiric style (sans the fangs), these scenes interlaced with those of spastic monkeys (you heard me). We then meet Sarah Roberts, author and researcher, her work involving something to do with unlocking the mysteries of how our biological clocks work, and, perhaps someday slowing down or even halting the aging process (good luck with all that). So far all she's got is the ability to cause monkeys to age really, really fast...keep up the good work. Anyway, John soon comes down with a serious case of geezer-itis, and contacts Sarah, as she's the aging expert and all. So what's his deal? I'm not going to tell you, but I will say don't get too attached to the character. Not long after this Miriam finds herself attracted to Sarah, and sees her as a possible candidate to fill the now vacant role of consort, allowing Sarah the opportunity to experience first hand the true nature of that which she wishes to know.
Okay, first off, any film that can incorporate the song Bela Lugosi's Dead (by Bauhaus) is alright in my book. The first thing that comes to my mind when I think about this film is billowy drapes...every third scene or so is populated by long, diaphanous curtains blowing in the wind, inducing flashbacks to when MTV actually played rock music videos back in the 80's, as many featured just such a scene. And was there one character in the film that didn't smoke? I guess if you're blessed (or cursed, depending on your point of view) with eternal life, you don't worry too much about getting the big C. I thought the film did very well straddling the line between being pretty cool and being utterly pretentious, leaning towards the former as director Scott knows how to create interesting visuals featuring many up close and personal shots, providing an intimacy to the characters. I also thought the flashback sequences were handled pretty well, primarily used to flesh out the story a little, but not appearing blatant or obvious. The color tone seemed a bit muted throughout the film, giving an overall ethereal sense as if the story was taking place as a dream, one that you witness, but don't participate in...if that makes any sense. Have you ever wanted to see David Bowie as a really decrepit, shriveled, bony, veiny, desiccated, covered in liver spots, old man? Here's your chance...how about a topless Susan Sarandon enjoying the pleasures of the Sapphic kind? That's in here too...I did have one issue with the story and that was near the end. Perhaps it's better detailed in the novel, but it has to do with transference. If you've seen the film, you may have an idea of what I'm talking about, as it wasn't put forth in a manner that made a lot of sense. I did accept it, begrudgingly. I don't always require everything spelled out for me, but this seemed a fairly critical part of the story. I thought all the actors did well, despite some minor deficiencies within the story with regards to the characters (a couple of them seemed transparent to me). I did appreciate the slightly sympathetic element that grew from the story with regards to John and Miriam, their lives affected by what us `norms' would consider a monstrous and hideous affliction, especially given the actions necessary foe survival. I did like most of the music within the film, especially the sometimes moody orchestral pieces, but the electronic stuff (music and sound effects) seemed a little too heavy and distracting at times. Perhaps a more minimalist route would have been a better tact to take, but this, as many of the issue I brought up, are fairly minor compared to an overall enjoyable film.
The widescreen anamorphic picture (2.35:1), enhanced for 16 X 9 TVs, on this DVD looks very clear and sharp, and the Dolby Digital 2.0 Mono is decent, albeit soft at times. There are a few extras including a commentary track featuring Sarandon and director Scott, a still gallery, and a theatrical trailer, which I would avoid watching prior to watching the film, that is if you haven't already seen the movie.
Cookieman108
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| Rating | | | Date | March 28, 2005 | | Summary | artsy, esoteric, self-indulgent, and wonder | Content
| I thought The Hunger was superb and am so glad it is available now on DVD.
Visually, the film is stunning, cool and dark and sophisticated. The editing is quick and vague, giving more impressions to the viewer than facts.
The viewer is only told half the story in each flashback or conversation, keeping you on your toes throughout the film. The acting is super. Catherine Denueve has never looked more beautiful, seductive, self-assured, and sleek. She plays her role minimally, despite the blood and gore, which any 10,000 year old vampire who has seen empires come and go would do.
David Bowie is grand as the cool Manhattan club crowd sophisticate starting to age years by the minutes. Susan Sarandon is the perfect brilliant tom-boy catch that Miriam would want for her next lover.Their seduction scene is beautiful.
Like Anne Rice, the bi-sexuality of the vampires is here assumed in a matter-of-fact way. It is as if when life appears to go on for eternity and you are forced to the edge of society, bisexuality becomes a natural state.
Now what does the ancient Catherine Denueve character, Miriam, do when her love of loves, her love for eternity starts to age and deteriorate? She dresses up in Chanel and goes shopping!
When Catherine and David Bowie pick up a handsome couple of swingers in the dance club, they kill them both with the nonchalance of any couple who spice up their relationship with mate swapping rituals.
Does it not seem suspicious that the most beautiful actress plays the most cold-hearted of vampires? The film is social commentary without preaching. The images tell the message. Twenty three years after the film was first released, it still can seduce you with its mystery and cold sophistication. |
| Rating | | | Date | February 25, 2005 | | Summary | Visually stunning and seductive | Content
| After almost 20 years, this film still holds it's on in the modern world. Catherine Denueve is one of, if not, the most beautiful women alive. So brilliant and sweet and sexy....stunning. David Bowie plays his part perfectly following Miriam around for 100's of years only to find that his "forever and ever" is only temporary.
And the erotic scene between Catherine and Susan Surandon....just another example of scene after scene of dark seduction and whispers (or were they warnings) from beyond the grave.
The Hunger is one of the most amazing movies. It made such a huge impact on me when I saw it at the fresh, raw age of 18. Still, to this day, it flows as if it were taking you on a wonderful, dangerous and sometime brutal journey through time.
This is a classic's classic.
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| Rating | | | Date | February 17, 2005 | | Summary | Heavy-Handed Style Overwhelms Characters & Story. | Content
| "The Hunger" is an unfaithful adaptation of Whitley Strieber's novel, directed by Tony Scott, who brought a highly stylized, disjointed sensibility from the world of commercials and music videos to the film. The film has been digitally restored, to the director's satisfaction, from a faded print of the original negative. Miriam (Catherine Deneuve) is a beautiful, ancient vampire who lives a secluded life with her somewhat younger consort John (David Bowie) in a Manhattan mansion, where they bring victims to feed periodically. Like her previous lovers, whom Miriam had vampirized so that they might become her partners for eternity, John eventually begins to age rapidly. In desperation, John turns to Dr. Sarah Roberts (Susan Sarandon), a prominent researcher in the field of aging and longevity. But Miriam believes that she has found in Susan a replacement for John.
Thanks to Tony Scott's heavy-handed style, "The Hunger"'s shortcomings are obvious. The film was panned by critics and producers alike, when it was released in 1983, for being "artsy, esoteric, and self-indulgent", and Scott's ability to grasp characters and story were questioned for years afterward. Susan Sarandon has said that when she took the role, she knew "The Hunger" was a "director's piece, as opposed to an actor's piece". Tony Scott readily admits to these things, but believes "The Hunger" is nevertheless an interesting film. "The Hunger"'s ability to intrigue isn't in question so much as its ability to hold interest and present coherent ideas. For most of the film, its visual style overwhelms both characters and story. But there are notable exceptions. The scenes in which Miriam and John express their anguish as John is dying and their supposedly eternal relationship is nearing its end are what "The Hunger" does best. The performances by the three leads are good, and Catherine Deneuve has a great deal of regal presence. Early 1980s pop culture is evident in punk clubs and heavy eye make-up, as well as Tony Scott's pre-MTV garish lighting and frenetic editing. "The Hunger" didn't work for me as a nostalgia piece, though, because the style is more over-the-top and self-conscious than the media of the early 1980s generally were. The film does allude to a tradition of gothic horror and romance, however, and Miriam is a memorable cinematic vampire in spite of the film's pervasive self-indulgence.
The DVD: There is a "Still Gallery" that includes portraits, behind-the scenes photos, and photos of make-up effects and some international movie posters. There is an audio commentary by director Tony Scott and actress Susan Sarandon, and a theatrical trailer (2 minutes). Scott's and Sarandon's commentaries were recorded separately and combined. Scott does a lot more talking than Sarandon. Tony Scott talks about his experiences making "The Hunger" as his first feature film, the actors, his intentions and the consequences of his stylistic choices, but does not discuss technical details. Susan Sarandon tells us what interested her about the script, talks about working with Scott, and comments on a few scenes, including her famous lesbian love scene with Catherine Deneuve. Subtitles are available for the film in English, French, and Spanish. Dubbing is available in French. |
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